Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi’s innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill.

Munkácsi’s legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame.

More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrierte Zeitung.

The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above.

On March 21, 1933, he photographed the fateful “Day of Potsdam”, where the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler’s inner circle, ironically because he was a Jew and a foreigner.

In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops.

Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper’s Bazaar, a top fashion magazine. Innovatively, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles illustrated with nude photographs in a popular magazine.

“during the time men live without a common power to keep them all in awe, they are in that condition which is called war; and such a war as is of every man against every man”

Thomas Hobbes

last night I awoke in the am/ the fear of failure/and desperation/raped me like a great big dirty dick whilst I slept/and I took 10mg of valium/and watched season 2 of eastbound and down and drank strawberry nesquik.

eastbound and down is an incredible show/and perfect in every way/it captures self-destruction, sleaze, vanity and ego with unflinching accuracy/it paints a portrait of the true essence of the modern mans psyche/the parts of us that we keep hidden/not because they are too ugly, bust because they are ridiculous, pathetic and hilarious/that without finding something to aspire too and accomplish/it is these characteristics that will define us/and we will all end up like Kerry Katona; bloated, soulless and bitter/flaunting her grim celebration of the human form in lads mags and asda ads/forever hideous/as if no amount of powder of cream foundation can cover/how twisted and vile her soul is/this faux fame without talent/creates monsters.

strippers and sleaze/cut in with drug abuse and indian midgets/a carnival pain and comedy and profanity/a series of false starts to enlightenment that go nowhere but down/a testament to tenacity in the face of adversity/of the inabilty to change/but the refusal to stop trying; the refusal to accept the status quo.

and to answer the question I think I’m an ass man/but for at least 2 days of the week I obsess over tits/and along with arrested development this my favorite comedy show/and I wish there was more of both/and I feel that failure /whilst devestating/is also kind of amusing/and we should at least be honest with ourselves about how ego-driven, childish, cruel, selfish and ugly we can be/and doesn’t kenny powers bedroom

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